废墟——读江衡的画_艺术家资讯_雅昌新闻

深谙江衡的人都知晓,外表文静的她,在点子上却具备一颗难以禁绝的躁动的Haoqing,江衡是位勇猛艺术尝试的音乐大师,他在上个世纪90时期初,即以行为艺术的点子出台,并崭露头角,进而在其后的卡通一代的大潮中,江衡又以一种一条道走到黑的胆子和可辨识性的视觉语符,成为了漫画一代的重要代表,经过七十来年的风雨,当年的青涩江衡已荡然无遗,代之而起的则是八个在形式和人生上更是自信、坚韧、从容和成熟的江衡。

油画理论家贡布里希有一句名言:美术是一种运动,所以乐师的同情是看她要画的事物,实际不是画他看看的东西。在前几天以此欲望喷涌和体验翻新的花销知识时期,贡布里希所揭发的规律是不是还适用呢?即便你去钻探江衡的玉女数不尽小说,恐怕会具有开掘。在她的图像学里,多少个独具匠心的图像形态美貌的女孩子跃然画面。更有趣的是,那一个长相各异的佳丽脸上,三个鼓起的图像符号一以贯之:大得风马牛不相及比例的双眼。这部分又一对大双眼正凝视着什么?当您作为观众去凝视那四头见时,又会有啥种开采?

招来江衡的视觉发展行迹,轻松窥见,江衡的个人成长轨迹,恰巧又证实了如此多少个真相,即江衡的主意是和中中原人民共和国现代艺术的提升历程拥有紧密的关联,就是社会组织的凌厉变动,新的社会生产情势,生活方法所产生的视觉经历,为江衡提供了一种回应的政策和方法,江衡敏锐地从花销社会的学问价值观动手,以一种主观参加的方法,揭露出满世界化语境下的资金财产、权力、欲望、花费、生态、道德观念的缺乏那个知识命题,而多年来的视觉表明如故和未来的视觉叙事保持着一种文脉上的关系和作风上的接二连三。

The art theorist Gombrich has a famous saying that, Painting is an
activity, so the artists tendency depends on what he wants to paint,
rather than painting what he perceives. In todays overwhelming flux of
desire and the ever-renewing experience of consumption culture, is
Gombrichs principle still applicable? If one reflects upon Jiang Hengs
series of femme fatale, perhaps one would find the unique image of the
femme fatale. What is more interesting is, among the varying faces of
these beautiful women, one symbol transgresses them is their
disproportionate eyes. What are those big eyes staring at? To stare into
such gaze as an observer, what would you discover?

借使对江衡的视觉图像进行解码,就务须回到江衡的从事艺术工作经历和成年人的历史背景,而重构江衡的成才历史境遇,则可以为阅读者敞开解码江衡的一把钥匙,当大家重构历史语境时,当大家回顾大家的生活现实和知识现实时,大家开掘,江衡这辈70后生人,他们断定已未有父辈身上的这种大苦愁生和悲情意识,由此在他们身上也紧缺这种英豪叙事的文化激情,能够说,江衡面前境遇了三个荒诞时期的终结,但江衡又是幸而的,他又面前境遇并能打抱不平的叁个品格高尚的人年代的始发,当以阶级斗争为纲不再成为一种政治,当安顿经济走向终结,而退换开放观念解放,则让江衡得到了宽广的视野和轻松表明的叙事路径,当然,改革开放带给的不光是物质的可是充盈。能够说,那也是叁个倾覆的退换,又是三个伦理颠覆,浮躁纵欲和动物万象的时代,社会的快速前进,必然产生人中学度的纷纷和章程变化的三种性。

本人以为,大双眼作为二个标识性的图像符号,也许正是艺术家美丽的女孩子点不清小说要画的事物!

当伴随着90年份市场经济的一揽子光临,中华夏族民共和国犹如在一夜之间就步向了都会文化和花费时期,那是全球化冲击所带给的必然结果,于是思想形态的逐月更新,大众文化开头流行并愈加挤压精德文化,大有变为主流文化之趋向,图像时期开端影响大家的生活方式和写作活动,这一个要素的相互叠合,协同整合了江衡成长的野史文化语境,而新的社会结构格局和新的视觉资历,也使江衡一定要查究到一种回应激变的社会和激变的宛在方今的格局,那也修造了江衡图像叙事的视觉考虑格局和视觉表达方式。至此,简单窥见,理想主义的有求必应和对西这两天世文明的盲目崇拜的风尚正发愁退出历史舞台,代之而起的则是对私家生活空间、个人价值的好感,以至对中华夏族民共和国社会实际的关怀,非常是对此处于修正开放前沿的马尼拉,大家更珍重个人生活体验为功底的活着难题,重申个人在社会上的一种提高办法与生存形式,集体主义涉世日渐早先被个人实验所取代。汪晖在《去政治化的政治:20世纪的终结与90年间》一书中也重申了市经时期的演进以致由此发生的复杂性的社会布局变化,短暂的90时期,是以革命世纪的终止为前提举办的新的相声剧、政治、经济、文化以致军事的意义在此个时期发生了根天性的浮动,若不加以重新界定,以至政治、国家、公众等听得多了就能说的详细的范围不容许用于对于那个时代的剖析,视觉知识分子起首将眼光从对过去的研讨转向对位于这么些目生时期的思谋。与此,西方行家Daniell贝尔也强调,现代城市生活优越的特色正是重申视觉性,城市给艺术带给的不可是观念和形式,而是一种全新的空间感、金钱观和以后观。随之而来的还应该有速激。那么些无疑构成了漫画一代赖以发出的温床,而卡通一代也是志愿地把青山绿水社会的视觉资历调换为情势表明语言,他们的社情是风靡文化和卡通、动作游戏及摇滚激情,他们玩着U.S.晶片,看着好莱坞大片,吃着美利哥薯片一路走来,那终将招致江衡的生存经历决定了她的视觉表明格局,他从小编生存涉世出发,成立出八个架空的卡通世界,用抽象的言语来展现现实的社会风气,当实际被卡周口后,不止倾覆了大家久已习贯的审美经历和价值观念,其实也作证了江衡这一代人的在今世社会的活着方式,他反映了江衡这一代人的人生经历,而反讽与吐槽则构成了江衡视觉表明的基调,虚幻、迷离与梦境其间夹杂着些童趣的天真与性感和对前程数不胜数的想象,也就成为江衡的一种特殊的叙事情势。他从《美人与鱼》开端,到《蝴蝶飞飞》和《蝴蝶飘》,再到方今的《风生水起》、《乱花渐欲动人眼》,视觉的蜂拥而至转变,思索的持续精进,把现代知识、今世的视觉经历作为其视觉表明发挥得下不为例合理,即有节奏又有决定,进而有效地把新的视觉阅历转变为本身的水墨画语言,进而以他所精擅的平涂的广告绘画艺术术,破坏掉壁画的光泽,并以一种符号化的编码暗中表示出生存的一种情状和涉世,即高度商业化的社会实际,人被异化为物,人在物化中的变形。他也由此宣布出了大伙儿的、流行的、通俗的,即今世生意社会的文化特色,非常是神州西边发达的大众文化与成熟的费用社会那样三个社会现实,即大家正处在这里样二个不可能避开的一世,就像是有一只无形的手在支配着你的思谋,在决定着您的开支,在广告、宣传、传播媒介的夹击下,大家于箪食瓢饮普通的生活中,更加的丧失自个儿,并进一层异化为机械复制时期的三个物,其视觉图像所传达出的激情奔放,个人欲望意况与社会的关系,鲜活艳丽的色彩,其图像财富的转载也再一次验证了那样二个真情,即现代文化正从古板的印制文化向现代视觉文化转换,图像无时无刻不在经历着您,你也持续在被各种图像经验着。阅读者自此也从当中深远摸底到了江衡的一种来自内心深处的东西,即她心灵的期望,而从江衡所精擅的图像表明中,他如实有着一种极强地把隐喻转变为群众得以肩负的切实那样一种技能,并且能维系对时期及社会实际的敏锐性,其图像的材质与华丽很让阅读者有一种思想心情和文化上的授意,他的视觉叙事就好像平素在编写制定着三个个隐喻,他把其对今世社会和艺术人生的激情想象和象征性表达隐蔽在华丽的表象中,那也轻松通晓,为啥在江衡的图像表达中,色彩能够突破物象框架的羁绊而取得一种自由,并放射出令人炫人眼目标华丽与欢欣,而其视觉表明中的童心具备某种心思力量,他的视觉表明消解了成材的理解和推断力,并用一种新的明亮格局来表现世界,进而在原来就有个别图像世界中开再次创下二个崭新的世界,那个崭新的社会风气正是图像时期不仅仅改换了江衡的创作思想和表明模式,它也转移了阅读者的翻阅习于旧贯和视觉审美阅世,而对图像时期艺术的论述与解读,无疑是索要伴随着读图一代的长大来缓和那样二个预设性难题。

I believe, the big eyes are a remarkable symbol is perhaps what the
artist want to paint in his femme fatale series.

通过江衡为阅读者编织的三个又二个失真的假造的光景,他让真正消融在图像中,他以设想的风貌,机械复制的产物试图复活一种情状,进而以复制的复制来彰显他的阅世叙事和价值判定。他在为阅读者带给一种另类的著述艺术的还要,也推动了一种极其的收看格局,进而在主导与客观之间产生了一种范晓冬,通过她创设的那么些虚假场景,也让阅读者丰盛领略到图像阅读已然成为大伙儿获取信息的基本办法,它不仅渗透在您小编的通常生活中,更成为一种选拔新闻与知识的习贯,因而图像又平常调整着大伙儿的思辨,教导着群众的花销,激情着人们的私欲。

作者们都了然,花费社会是二个可观视觉化的社会,看不仅仅是花费体验的前程似锦,更是生活的临场注脚。文化与视觉的关联,在即时落成了前所未见的合谋。好酒纵然巷子深的时期一去不复返了,唯有那三个看得见并引发眼球的事物,才有莫名其妙的魔力。法兰西思忖家德波所谓景色社会的预见已成现实。美女的大双眼在看大家的还要约请大家去看。于是,看小编及其方法表现遂成为江衡水墨画的中坚主旨。

江衡充裕捕捉住了青山绿水社会公共图像世界艺术的灵韵,体味到了社会生存的丰盛与千门万户,他纵然营构出叁个个形象一览了然,艳丽冷莫而又复杂的幻影与梦境,但本人却从没丝毫情结暴露,阅读者面前遇到的照旧那个僵硬寒冬重复单调养世俗虚幻与虚空之感,他要使劲发挥的是量化生产中的格式构图,种类的再一次和意义的滥用。扑面而来的是一种经济的量化分娩。江衡的视觉表明依然对花费时期种种时尚、保护健康用品及那叁个粗劣而又没有性格产品及赤裸裸的物质化学物理品的一种表达,三个不必置疑的事实,今天的华三之日是建构在此种事物之上,它折射出大家赖以的、实用的、但不持久的物料中全部能够开销的弹指间性和短暂性。

As we know, the consumption society is a highly visual society, viewing
is not only a way in which to experience consumption but a proof of
existence. The relationship between culture and visual culture have
reached unprecedented conspiracy in the present. The time of discovering
a good drink in the deep alley has been long gone, what is before us are
those in front of our eyes, emitting unimaginable power. The French
philosopher Guy Debords so-called Social Landscape has became a reality.
The femme fatales eyes while gazing at us invite us to stare back.
Therefore, the act of viewing and its artistic representation became the
basic top of Jiang Hengs paintings.

江衡的视觉叙事战略,既是图像时期的折桂,也是开支时代的狂热,相同的时间又是性感的完胜和作为市经发达的圣地亚哥在创新开放之初所获取的思想解放的胜球,江衡不独有有饱经曾经沧海的作风样式和渐渐精进的社会批判立场,他能把自家的视觉标记通过挪用转变,将这一个生活因素融合到视觉表明中,在费用社会和景点社会中,他适当时候地而又机智地用开支社会的艺术对花费社会开展反讽和宣布,进而揭穿出景色对于人的异化所诱致的淡然与疏远,无聊与说梅止渴,那才是江衡艺术的深厚之处,也呈现的是江衡的历史观和知识价值尺度。至此,大家得以清晰地窥看见江衡的视觉叙事是感染在无比商业化的情境中。叁个不争的事实是,江衡受惠于费用社会的花销思想,那不单为其得到信誉,同一时候她又是开销社会花费文明下的艺术承载者。江衡以本性化的视觉陈诉,说出了二个极尽浮华与发达的虚伪而又虚空的风物,及藏匿在富华表象背后的悲苦和伤心,迷茫与无耐。

不可否认,书法大师最关怀看,但不用每一个画师都自愿地把看本人作为表现对象。在江衡的超级多多种画中,反复现身的佳丽构成了一个贯穿性的标记原型,姑且称之美人类别。留心端详这一个女神,不免会被那些关于看的裸露真理所感动。作者注意到,在江衡的仙人数不完作品中,多少有一点点像瓷娃娃的各项美眉,必定个个眼睛大得眩惑恐怖。这几个超过了符合规律比例的大双眼,把视觉那一个成本社会的最要紧的感知体验格局,用一种极端浮夸的艺术展现出来。不止如此,透过这形色各异的眼力和视界,钟鸣鼎食的各样视觉诱惑暗中传递出去。注意一下黑眼球的焦点光点处理,从模糊的圆形斑点(如《散落的物品36》卡塔尔,到相符惊叹号的反光(如《散落的货品54》State of Qatar,再到相近是窗框的投射(如《美貌的花儿2》State of Qatar,这不一的表达情势折射出眼睛对全球的期盼,映射出视界对生活万般美妙的眷恋。我们不禁为那个夸张的双眼所咋舌,为那三个愿意的眼神所感召,为这一个欲望化的观念所迷魅。大概有理由说,美眉之瞥不啻是四个有关费用社会的视觉文化寓言。

眼下的江衡正在品尝多元的视觉表明门路,他不停地挑衅束缚,挑战边界,并不断地超越自笔者,他的视觉图像世界依然充满着一不熟练机,而鲜有具体的心得和一代的心怀,这决定是一种升高的程度,一种从容与淡定的情结,一种无动于中的憧憬,而人生经验的日渐增加,艺术探究上的苦味体验,也让他少了几分早前的义愤,却又扩充了几分平和与淡定从容,但方法修正的激情却从没丝毫的收缩,而对和平与和煦的畅想,对本来和性命的高雅褒奖,对东西方文化与哲理的冲击与郁结的思谋,对传统与现时期相交织的猜忌,将会挑起江衡在以往持续的视觉搜求。

Undoubtedly, the painter is most interested in viewing, yet now all
painters consciously treat viewing as the object of representation. In
Jiang Hengs numerous series, the reoccurring image of the femme fatale
became the transgressing emblem, thus entitled the Femme Fatale Series.
Examining these women in detail, we cannot help to be shocked by the
naked truth about viewing. I noticed that Jiang Hengs femme fatale
series are somewhat akin to the ceramic dolls, because their eyes are
nevertheless scarily large. These usual proportions have displayed the
most crucial sensation for this consumption society with the most
exaggerated manner. Moreover, behind the plethora of gazes and stares,
myriads of visual enticements sip out. Noted is the highlight of on the
dark eyes, from the ambiguous round dot (in Scattered Object 36) to the
reflection similar to an exclamation mark (in Scattered Object 54), or
the seemingly reflection of the display window (Beautiful Flower 2).
These ways of expression reflect the eyes desire to the wonders of this
world, and the lingering visions on the enigmas of life. We cannot help
but to feel appalled by those exaggerated eyes, drawn to those longing
eyes, and attracted to the gazes of desire. Perhaps there is reason of
these womens glance is a visual culture fable of the consumption
society.

丁丁Clark曾建议那样叁个见解,今世章程的野史不是三个平面化的野史,而是七个否定性的历史,是不停地由新的位移否定旧的位移的野史。

图一,马格利特《虚假的镜子》(1929卡塔尔国

那么作为卡通一代首要代表的江衡,将会再为阅读者带给如何视觉的奇异和期望吗?

图二,江衡《蝴蝶飞飞》(二零零六卡塔尔国

我们拭目以俟。

此地,我想透过参谋相比较两幅画来相比较,从当中大概大家能够解读出江衡大眼女神图的繁杂意味。一幅能够比较的是Belgium超现实主义美学家马格利特的《虚假的镜子》(图一State of Qatar。在这里幅画中,马格利特依赖眼球的镜面反射,清晰重现出一幅蓝天白云的真正场景。作为超现实主义艺术家,此画大概反映了回忆中的梦幻之景,但却是以极度真实的本来现象来表现,颇有个别假作真来真亦假的意趣。反观江衡文章,比方《蝴蝶飞飞》(图二卡塔尔,美眉的眼神充满了好奇,她在目送这一个世界。不仅仅用自身的眸子,并且依靠会聚透镜来审视那个世界,要把那些世界看个理解。即使说马格利特超现实主义的观点折射出的切实地工作风景是以反语格局的迷梦来表述的话,那么,在江衡的玉女这里,眼光却是中度梦幻地实在表明。换言之,美人充作一种审美这些充满了物欲的开销世界象征符号,逼真地显示出前几日以此视觉文化时期的真谛:用眼睛去多量并花销那一个世界。这里,眼睛被高度象征化和浮夸化了。的确,只要对及时日常生活稍加打量就能够开掘,一切吸引人的东西首先表现为风景(spectacle卡塔尔。环球都已经转向为形象,德波说得好:景色是由以下事实所引致的,即今世人完全成了观者。这就产生了碧水青山在现代社会中的统治和暴力。当公众打拼于平时生活审美化的研讨时,三个关键的真实境况在江衡的小说中被拆穿出来了,那就是明天的文化是一种体验性的知识。体验的关键措施正是视觉,眼睛不仅打量着漫天,恰如画面上这美眉中度象征性的视力同样,更首要的是,大家还要注重种种手艺手腕在视觉上花销这一文化,火镜可是是各样数字技能、传播本事、视觉本领和花费技术的天性符号而已。于是,看那一个原来最布满的行为,以某种不熟悉物化学的效力表现出来,它揭破出在开销时代的视觉文化转变中,视觉欲望及其快感已进级为存在的有理有据情势本身看故作者在。马格利特式的迷梦镜像已经远去,美眉本人作为视觉对象的大眼凝视,既是多个被展现的图像符号,又是三个倡议观众进入视觉花销并享受视觉盛宴的约请。不但用肉眼去体验,更要用突镜一类的技艺手腕去放概况验。

2014年1月14日18:00

Here, I would like to make a comparison by referring to two paintings,
from which we will perhaps decipher the complex meaning of Jiang Hengs
images of femme fatale. One of the paintings is the Belgian surrealist
painter Rene Magrittes The False Mirror (Image I), in this painting,
Magritte used the reflection of the eye to represent the realistic image
of white clouds in the blue sky. As as surrealist painter, perhaps this
painting reveals the dreamlike view found in ones memory, yet are
presented in its actual natural form, which can seem to have the
somewhat tromp loeil effect. Looking back into Jiang Hengs paintings,
Fluttering Butterfly (Image II), the gaze in his femme fatales is filled
with curiosity, shes staring into this world. Not only with her won
eyes, but uses a magnifying glasses to examine this world, because she
wants to see the world with clarity. If Magrittes surrealist gaze
reflect the actual view is a sarcastic approach to express imagination,
then the gazes of Jiang Hengs femme fatale must be the true expression
of utter imagination. In other words, femme fatale as a symbol of
material desire of the consumption world, has vividly revealed the truth
of todays visual culture: using ones eyes to wager and consume this
society. Here, the eyes are highly exaggerated and symbolized. Indeed,
with slightest attention to our everyday life, one would notice anything
that is attractive is first shown as a spectacle. The entire world has
been transformed to images, as Debord stated, the spectacle is caused by
facts, in other words, people today are observers. This let to the
spectacles monopoly and violence in contemporary society. As people are
absorbed in the discussion of the everyday aesthetics, an important fact
is revealed in Jiang Hengs work, that is, todays culture is an
experiential culture. And the primary approach to experience is seeing,
the eyes not only approximate everything, just as the symbolic gaze of
these beautiful women, but most importantly, people need to appropriate
various techniques to consume such culture visually. The magnifying
glass is the representation of various digital technology, communication
devices, visual technology and consumption methods. Therefore, viewing,
the most common behavior is shown in a rather estranged effect, it
displays the visual desire and its gratification has been augmented to
ways in which to verify ones existence in the transformation of visual
culture of the consumption era I see therefore I am. Magrittes dreamlike
mirror is behind us, the beautiful women as the visual object, stares
with their big eyes, are visual emblem represented, as well as the
invitation to the viewers to enjoy such visual feast. Not only can one
experience with their naked eyes, but also with the assistance of the
magnifying glass to enlarge such experience.

于青海湖三官殿

于今,小编想说,画面上那几个大得可怕却又特别真实的佳丽眼睛,成为一种当下体会之文化的代表。美女及其眼光的再一次性质赤裸地展现出来。作为粉丝,直面这画,大家实乃在看那雅观的女子看,凝视那靓女的注目。一方面,美丽的女人是充作大家的镜像而留存;另一面,我们在注视美丽的女人的注视的还要,也改为仙人凝视的镜像,此乃视觉文化的视界互文性的辩证法。谈到此处,大家越来越深刻地通晓了梅鹿特庞蒂的话:看正像叁个十字街头相仿,是富有地点交汇遇合之点。大家所见和使之被见的事物,在存在之物上的这种进动,正是看我。

冀少峰:现为西藏美术馆副馆长、盛名展览策划者、斟酌家

Therefore, I would like to comment that the scarily large yet real eyes
have became the cultural emblem to experience current culture. The
dichotomous quality of the femme fatale and their gazes are presented
literally. As a viewer, confronted with this painting, we are in fact
viewing the gaze of this beauty and stare into her stare. On the one
hand, these beautiful women exist as the image in the mirror; on the
other hand, while we stare into their stares weve became the image in
the mirror of their gaze, this is the dialectics of visual culture. It
helps us to further understand Maurice Merleau-Pontys statement, Viewing
is like being at the crossroad, it is where all directions meet. What
people perceive and made seen, evolves above existence, is the act of
viewing.

二零一三年独一取得第55届威波尔多双年展策划奖的中华商酌家

跟着,大家来相比此外一幅画,即U.S.A.Pope的表示职员Wiesel曼的《伟大的美利坚联邦合众国裸女第59号》。笔者不通晓江衡的尤物不知凡几是或不是受到美利坚联邦合众国Pope艺术的那位代表人员的启发。但比较五人的种类是余音回旋不绝的。一多元简单的讲的相同不必重申了,比方美丽的女子不知凡几这种创新意识本身。笔者感兴趣是之类发掘,在Wiesel曼的United States裸女种类画中,一贯就不画眼睛,由此来卓绝地重申了玉女的妖艳特征;而在江衡的玉女数不胜数中(如图三《蝴蝶飞飞17》卡塔尔(قطر‎,性感的艳俗就像被瓷娃娃式的玻璃效果间离了,但却凸现了仙女的大双眼及其盛满欲望的视力。

Ruins—- On Jiang Hengs Paintings

Then lets compare the other painting, the American Pop artist Tom
Wesslemanns The Great American Nude 59. I am uncertain whether Jiang
Hengs femme fatale series are influenced by this American Pop artist.
Although the comparison of these two artists can be mesmerizing. Without
mentioning the similarity of their series of works, in terms of their
creativity. What interests me is that Wasslemanns Nude series have never
painted the eyes onto the women, in order to emphasize the sexy
characteristics of women; whereas in Jiang Hengs femme fatale
(Fluttering Butterfly 17) the kitsch sexiness seem to be separated from
the glassy effect of the ceramic-like dolls, yet highlights the big eyes
and her desire filled gaze.

Ji Shaofeng

图三,江衡《蝴蝶飞飞17》(贰零零玖卡塔尔

Those who know Jiang Heng well understand that beneath the gentle
appearance, he is actually an avant-garde experimentalist with an
insuppressible passion for art. In the early 1990s, he appeared in the
art society with performance art; then in the following Cartoon
Generation wave, with his unswerving courage and distinctive visual
lansign, Jiang Heng became an important representative. After more than
20 years ups and downs, he is no longer the green boy but a confident,
resolute, unhurried and mature artist.

图四,Wiesel曼《伟大的美利坚合众国裸女59号》(一九六二卡塔尔国

Reviewing Jiang Hengs personal growth path shows that the development of
his art synchronizes with that of the Chinese contemporary art. It is
exactly the drastic changes of the social structure, the new social
production means, new life styles and the visual experience created that
provide a response tactic and approach for Jiang Heng, who acutely
enters on from the cultural notions in the consumer society and through
subjective intervention, reveals such cultural subjects as the capital,
power, desire, consumption, ecology and absence of moral tradition in
the globalised context. His recent visual expression still relates to
his past visual narration contextually and extends the same style.

从水墨画守旧上说,中中原人民共和国油画历来强调眼睛是传神写照之阿堵,所谓画龙不点睛的轶闻是弹无虚发的。Wiesel曼画女不点睛显明有其它的酌量,大概是在他看来,这个裸女已深陷到了独有身而并未心的境地了,因而作为心灵窗口的传神阿堵也就从未有过须要了,恐怕说,唯有那红唇、乳头等标记,才享有凸现好莱坞式性感特征高度象征意义,眼睛已落后为视若无睹之物。江衡的月宫仙子数不清小说反其道而行之,眼睛乃此种类小说最基本的图像符号。画女不但必点睛,并且以极端夸张方式来点睛。性感的艳俗在江衡笔下的靓妞这里已经不复是怎么着出格宗旨,他要公布的可能是肉眼与世界的代表关系:那是一个十分受视觉统治的时日,生存的满脸堆笑和体会有赖于视觉的握住。由此,江衡的玉女点不清小说便越出了中式波普艺术的艳俗性感窠臼,切入贰个今世知识的视觉宗旨:看的质询性。Wilde早已建议,看雷同东西与见到相仿东西全然不一致。大家能够任何时候看世界,却有比一点都不小概率什么也尚未看到。江衡靓妞数不清这瞪大的眼眸和具备穿透力的目光,大概是在思疑看我,召唤看的列席,把看径直调换为见到。因为东西存在是因为大家看到它们,我们看到什么,我们怎么样见到它,那是依影响大家的议程而决定的。(王尔斯洛伐克语卡塔尔国那不便是书法大师想要大家驾驭的精气神儿啊?

To decode Jiang Hengs visual images, one needs to look back on his
artistic path and the historical background of his growth.
Reconstructing this gives the audience a key to unlock Jiang Heng and
his works. Reexamining our life and cultural reality, we will find that
Chinese born in the 1970s, such as Jiang Heng, are not burdened with
trials and tribulations like their fathers were any more, therefore they
also lack of the cultural passion for epical narration. It can be said
that Jiang Heng experienced directly the end of an absurd time. But he
is also lucky that he equally witnessed and participated in the
beginning of a great time when battle between classes is no longer the
political priority, when the planned economy came to an end and the
reform, opening-up and thoughts liberation gave Jiang Heng a broad
horizon and free expression. For sure the reform and opening-up has
brought much more than material abundance; it was a world-shaking change
and an ethical subversion. A time of fickleness, desire and rapid social
development would certainly have immense complexity and create a great
diversity of art.

Speaking of traditional painting, Chinese paintings have always
emphasized the key of passing on the spirit through the eyes, which
explains not drawing the eyes to dragons. Wasslemanns women without eyes
perhaps originate in other thinking, perhaps in his view, these nude
women have became soulless bodies, therefore it is unnecessary to draw
the window to their soul, or perhaps only the lips and nipple can best
represent the sexual characteristics of Hollywood symbolism, and the
eyes became dispensable. Jiang Hengs femme fatale series on the
contrary, depict the eyes are its core emblem. It is not only a must to
paint the women with eyes, but had to be done in the most exaggerated
approach. The sexy kitsch is no longer a novelty under Jiang Hengs
brush, what he would like to express is the symbolic relationship
between the eyes and the world, where the world is in a visually
dominated era, the joy of ones existence and experience relies on ones
visual command. Hence, Jiang Hengs femme fatale series transcends the
American Pop art kitsch art, but penetrates into the visual topic of
modern culture: the inquest of viewing. Wang Erde has pointed out before
that, to view an object is entirely different from having seen an
object. We look at the world daily, but could have seen nothing at all.
The big eyes in Jiang Hengs femme fatale series with piercing gazes is
perhaps questioning the act of viewing, calling on the presence of
viewing, transforming viewing from seeing. The objects existence is
because we have seen them, what we see, how we see it, depends on the
art influencing us. Isnt that the truth the artist would like us to
know?